This was for an assignment in studio photography where we were required to alter pre-existing light and mix it with other light sources to create a series of successful and compelling photos. Each image is made over a very long exposure time (think 8-25 seconds) by triggering several strobe lights, and then moving LED lights and my lit -up cellphone around. Some of the sets appear to be moving (Furno and the second Jetbug photo) due to the figure being shifted to different spots during the exposure.The only editing on the computer was for minor levels editing, slight exposure correction, dust removal, and a tiny bit of colour correction. Everything else is created by hand.

These are just so cool, I do not have the words to describe it. It looks like someone went over some photos with some computer-generated effects, not painted. With light. (I seriously can't get over how awesome these look.)The motions don't look unnatural - in Furno's case, it gives off the impression that he's actually riding his bike. I can even make out some blurred cell phone screens in the background ...Do you plan on extending the series out to other sets and/or MOCs?

I'm not opposed to making more photos like this. They're really fun and very different from my usual work! Doing this with multiple figures interacting, as well as creating and mastering using light stencils attached to a flash could be really interesting. It could even become recreations of certain high-action/battle scenes in the movies or comic books. I'd have to get some more of my sets from home the next time I'm there, and more types of light sources, but it could definitely be done.

Wow, just wow. All of those pictures look fantastic. If I had to pick a favorite, it would probably be the first one because it looks like his weapon is shooting, however, all of them are amazing. I hope you make more in the future!-don't touch my pocket protector

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The almost perfectly black background in the first Jetbug picture gives a nice impression of the infinite. The figure is dwarfed in comparison to the space surrounding it, which in turn draws my eye away from it, and toward the "lightning" effects. It is an interesting reversal compared to the other pictures in the series, from which I get the impression that the figure is the focus, and not the light.

I've done plenty of light painting in the past, and yes, it is indeed fun. I love making their eyes glow and basically creating elemental battles with lasers, or just making cool backgrounds. I really like the Furno motorcycle one.

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Huh, I thought I'd commented on this when I saw it; must've slipped my mind. Sorry! Anyways, I've always been a fan of light painting, and you've combined it very nicely here with the figures. I particularly like the second and third images; it's a very nice pattern you've got serving as the background in the second, while the backlighting/'glow' in the third is a great effect.

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Very nice! I like Takanuva's glowing eyes, and the Furno Bike picture is awesome. You should make the backgrounds a bit more prominent, though. On the Brezz pictures, it looks kinda like the background was added. I'm not sure if it would be possible, but you could try and add a light trailing behind a sword or weapon while the figure attacks.

You should make the backgrounds a bit more prominent, though. On the Brezz pictures, it looks kinda like the background was added. I'm not sure if it would be possible, but you could try and add a light trailing behind a sword or weapon while the figure attacks.

In this setup I'm using a makeshift "infinity background", which is a cloth set up so it gently curves up from the table to where it's attached on the wall. This gives a sense of a never-ending background, as well as a clean look from no line being where the wall and floor meet. You can see in most how the texture of the cloth slowly fades out to black. The way that I lit the scene as well made it so the least amount of light was falling behind the figure, which makes it appear even darker.In a sense, the background of the second Breez picture was added, because the lines of light make a temporary background that separates her from the black cloth behind her.

How did you stop a blurry hand from appearing in the images?

I set up the lights to trigger right at the beginning of the exposure before I begin. Whatever shows up in that flash of light is what you see as permanent, and then the light painting is added in during the remaining exposure time. I make sure to wear dark clothing and I continually move my hand around, even if I am only lighting a specific spot, or my hand will show up as a discoloured blur. The longer the image exposure is also means there is less of a chance of me appearing in the image. You can kind of see in the Jetbug images what happens when my phone is in one place for too long, as the image on my phone slowly starts to appear, such as near Jetbug's foot where you can partially see me sitting on a rocking horse.I think I might have to post more about the technical aspects of this and show examples of ones that I didn't use where the flash goes off and my hand is in the way, what happens when I stay in one place too long, an example of an infinity background setup, etc., just because of some of the reoccurring questions.

You guys do realize that all the crazy awesome light effects were done by hand, without an image-editing program, right?

As I stated, I did not use a program beyond Adobe Photoshop for minor colour correction, levels, etc. after I had made the images. When it comes to the lights, it is all done by hand.

To contribute something beyond my first post, I think one thing I would have liked to see is having different poses to match the different light patterns, in a way. For example, in the first image, the pose Breez is in and the light swirl complement each other perfectly. The pose does not change in the next image, and while it's not detrimental, it would have been nice to have some variation. Same with Takanuva - for the second image, I can picture his being positioned sideways and posed in a way to imply motion to complement the blur in the background.I am still in awe, by the way, that this is all even possible to do by hand. It is truly incredible.

You guys do realize that all the crazy awesome light effects were done by hand, without an image-editing program, right?

As I stated, I did not use a program beyond Adobe Photoshop for minor colour correction, levels, etc. after I had made the images. When it comes to the lights, it is all done by hand.

To contribute something beyond my first post, I think one thing I would have liked to see is having different poses to match the different light patterns, in a way. For example, in the first image, the pose Breez is in and the light swirl complement each other perfectly. The pose does not change in the next image, and while it's not detrimental, it would have been nice to have some variation. Same with Takanuva - for the second image, I can picture his being positioned sideways and posed in a way to imply motion to complement the blur in the background.I am still in awe, by the way, that this is all even possible to do by hand. It is truly incredible.

THANK YOU WINDRIDER.Anyways, yeah, I would have changed the poses but it was getting late, my deadline was looming, and I was running out of wine. Future plans of this will involve changing the poses.